Chords for Depeche Mode with Alan Wilder Synths Revolution
Tempo:
110.7 bpm
Chords used:
Cm
Fm
C
Gb
Ab
Tuning:Standard Tuning (EADGBE)Capo:+0fret
Start Jamming...
[Cm] Building something, should have [Fm] a gun, [C] my very own PC,
[Ab] [E] Go and leave [Cm] it in my secret garage, [Fm] no secret [C] anymore.
[Cm] British futurist Depeche Mode recently brought their [F] stylized brand of electro-pop to the United States.
Unlike most rock [Ab] bands, however, Depeche Mode features a drummer that starts [Eb] performing at the press of a button.
Their electronic backbeat comes [G] from a Tiak tape machine.
Lead singer Dave Gahan asserts that having a [Cm] mechanical drummer is really quite ordinary.
[Fm] We've never had a drummer, and we used to use drum machines, which weren't very good when we first [Ab] started out.
And then when we got into the studio and started making records,
we just took the drum track from the records and put it onto the tape.
We've always had it, and we've never [D] even thought about getting a drummer.
That's why it's really, I mean, it's great to have a real drummer on stage,
but [Cm] the Tiak probably keeps better time.
My secret [Fm] garage is not a secret [C] anymore.
[Cm]
[C] [Cm]
[Gm] Dave Gahan and the tape deck share the stage with synthesizer players Andy Fletcher, Alan Wilder, and Martin Gore.
Gore is also the chief songwriter [F] for the group.
When composing, he relies on the guitar to work out the chords,
but any other time, Martin prefers synthesizers.
I [N] think I got a bit bored with the sound of the guitar.
The electric guitar, there's not a lot that you can do with the sound of it.
You can flange it or put it through an echo or something, but it's still basically the same sound.
And the synth offers a variety of sounds.
You can almost get any sound on it if you look for it.
I've got percussive sounds.
That kind of thing.
[Gbm]
[Db]
[Bb] I mean, that's a section of old noises, you know.
[N] Depeche Mode's newest member, Al Wilder, had piano lessons from an early age,
but in the last five years, he's graduated to technologically sophisticated computerized keyboards.
Sometimes it can take a long time to find the sound that you want, but that's half the fun of it, you know.
I mean, you can spend hours fiddling about just playing around with the sound.
When we're in a studio, we'd spend hours looking for it.
And then, since we've got it, we store it.
So that we can get it back any time.
Another nice feature is you can split the keyboard in two and have two separate sounds.
For example, in the lower half of the keyboard, I can put a bass kind of sound,
and in the upper half, a stringy sound or whatever.
[Bb] And there's one song we do called Tour where I do that.
[Gb] I'm playing in [A] [Gb]
one half.
[Gb] [A] [Gb]
[A] It's hard to believe that these young men, who started recording together when they were just [G] teenagers, face any pressures.
We've been together about three years now.
[Cm] So that was quite a while ago.
But [Fm] since then, we've [Bb] been around, [B] we've seen a lot of the world.
And we've got over that really.
I mean, when we started out, I mean, when we first started, I was 17.
[N] So we was pretty young.
I mean, my first television appearance was when I was 18, I think, just 18.
But we've got over that really.
You grow up, we've grown up very quick.
You have to, really.
If you want to stay in this sort of business, then you've got to grow up quick.
But we still manage ourselves as well.
The reflective, heart-searching quality of Martin Gore's lyrics [Cm] reveals this early maturity.
But Gore is shy about interpreting the meaning of his songs.
We try not to talk about the songs too much.
Because I [N] think it's a general policy that we try to keep a bit of mystique with the songs.
Because you can go into an interview and talk about the songs and explain it fully.
But what's the point?
You might as well just do that anyway.
Get on a television spot and tell everyone your views.
But if you're going to write songs, you might as well try and express them.
And then leave it up to the
[Ab] [E] Go and leave [Cm] it in my secret garage, [Fm] no secret [C] anymore.
[Cm] British futurist Depeche Mode recently brought their [F] stylized brand of electro-pop to the United States.
Unlike most rock [Ab] bands, however, Depeche Mode features a drummer that starts [Eb] performing at the press of a button.
Their electronic backbeat comes [G] from a Tiak tape machine.
Lead singer Dave Gahan asserts that having a [Cm] mechanical drummer is really quite ordinary.
[Fm] We've never had a drummer, and we used to use drum machines, which weren't very good when we first [Ab] started out.
And then when we got into the studio and started making records,
we just took the drum track from the records and put it onto the tape.
We've always had it, and we've never [D] even thought about getting a drummer.
That's why it's really, I mean, it's great to have a real drummer on stage,
but [Cm] the Tiak probably keeps better time.
My secret [Fm] garage is not a secret [C] anymore.
[Cm]
[C] [Cm]
[Gm] Dave Gahan and the tape deck share the stage with synthesizer players Andy Fletcher, Alan Wilder, and Martin Gore.
Gore is also the chief songwriter [F] for the group.
When composing, he relies on the guitar to work out the chords,
but any other time, Martin prefers synthesizers.
I [N] think I got a bit bored with the sound of the guitar.
The electric guitar, there's not a lot that you can do with the sound of it.
You can flange it or put it through an echo or something, but it's still basically the same sound.
And the synth offers a variety of sounds.
You can almost get any sound on it if you look for it.
I've got percussive sounds.
That kind of thing.
[Gbm]
[Db]
[Bb] I mean, that's a section of old noises, you know.
[N] Depeche Mode's newest member, Al Wilder, had piano lessons from an early age,
but in the last five years, he's graduated to technologically sophisticated computerized keyboards.
Sometimes it can take a long time to find the sound that you want, but that's half the fun of it, you know.
I mean, you can spend hours fiddling about just playing around with the sound.
When we're in a studio, we'd spend hours looking for it.
And then, since we've got it, we store it.
So that we can get it back any time.
Another nice feature is you can split the keyboard in two and have two separate sounds.
For example, in the lower half of the keyboard, I can put a bass kind of sound,
and in the upper half, a stringy sound or whatever.
[Bb] And there's one song we do called Tour where I do that.
[Gb] I'm playing in [A] [Gb]
one half.
[Gb] [A] [Gb]
[A] It's hard to believe that these young men, who started recording together when they were just [G] teenagers, face any pressures.
We've been together about three years now.
[Cm] So that was quite a while ago.
But [Fm] since then, we've [Bb] been around, [B] we've seen a lot of the world.
And we've got over that really.
I mean, when we started out, I mean, when we first started, I was 17.
[N] So we was pretty young.
I mean, my first television appearance was when I was 18, I think, just 18.
But we've got over that really.
You grow up, we've grown up very quick.
You have to, really.
If you want to stay in this sort of business, then you've got to grow up quick.
But we still manage ourselves as well.
The reflective, heart-searching quality of Martin Gore's lyrics [Cm] reveals this early maturity.
But Gore is shy about interpreting the meaning of his songs.
We try not to talk about the songs too much.
Because I [N] think it's a general policy that we try to keep a bit of mystique with the songs.
Because you can go into an interview and talk about the songs and explain it fully.
But what's the point?
You might as well just do that anyway.
Get on a television spot and tell everyone your views.
But if you're going to write songs, you might as well try and express them.
And then leave it up to the
Key:
Cm
Fm
C
Gb
Ab
Cm
Fm
C
_ _ _ _ _ _ _ _
_ [Cm] Building something, should have [Fm] a gun, [C] my very own PC,
[Ab] _ [E] Go and leave [Cm] it in my secret garage, [Fm] _ no secret [C] anymore.
_ [Cm] British futurist Depeche Mode recently brought their [F] stylized brand of electro-pop to the United States.
Unlike most rock [Ab] bands, however, Depeche Mode features a drummer that starts [Eb] performing at the press of a button.
Their electronic backbeat comes [G] from a Tiak tape machine.
Lead singer Dave Gahan asserts that having a [Cm] mechanical drummer is really quite ordinary.
[Fm] We've never had a drummer, and we used to use drum machines, which weren't very good when we first [Ab] started out.
And then when we got into the studio and started making records,
we just took the drum track from the records and put it onto the tape.
We've always had it, and we've never [D] even thought about getting a drummer.
That's why it's really, I mean, it's great to have a real drummer on stage,
but [Cm] the Tiak probably keeps better time. _
My secret [Fm] garage is not a secret [C] _ anymore.
_ [Cm] _ _ _ _
[C] _ _ _ _ [Cm] _ _ _
[Gm] Dave Gahan and the tape deck share the stage with synthesizer players Andy Fletcher, Alan Wilder, and Martin Gore.
Gore is also the chief songwriter [F] for the group.
When composing, he relies on the guitar to work out the chords,
but any other time, Martin prefers synthesizers.
I [N] think I got a bit bored with the sound of the guitar.
The electric guitar, there's not a lot that you can do with the sound of it.
You can flange it or put it through an echo or something, but it's still basically the same sound.
_ And the synth offers a variety of sounds.
You can almost get any sound on it if you look for it.
I've got percussive sounds. _ _
_ _ That kind of thing. _ _ _
_ _ _ _ _ _ [Gbm] _ _
_ [Db] _ _ _ _ _ _ _
[Bb] _ I mean, that's a section of old noises, you know.
[N] Depeche Mode's newest member, Al Wilder, had piano lessons from an early age,
but in the last five years, he's graduated to technologically sophisticated computerized keyboards.
Sometimes it can take a long time to find the sound that you want, _ _ but that's half the fun of it, you know.
I mean, you can spend hours fiddling about just playing around with the sound.
When we're in a studio, we'd spend hours looking for it.
And then, since we've got it, we store it.
So that we can get it back any time.
Another nice feature is you can split the keyboard in two and have two separate sounds.
For example, _ in the lower half of the keyboard, I can put a bass kind of sound,
and in the upper half, a stringy sound or whatever.
_ [Bb] And there's one song we do called Tour where I do that.
[Gb] I'm playing in [A] _ _ [Gb] _
one half.
[Gb] _ _ _ [A] _ [Gb] _ _ _
_ _ _ [A] _ It's hard to believe that these young men, who started recording together when they were just [G] teenagers, face any pressures.
We've been together about three years now.
[Cm] So that was quite a while ago.
But _ [Fm] since then, we've [Bb] been around, [B] we've seen a lot of the world.
And we've got over that really.
I mean, when we started out, I mean, when we first started, I was 17.
_ [N] _ So we was pretty young.
I mean, my first television appearance was when I was 18, I think, just 18.
But _ _ we've got over that really.
You grow up, we've grown up very quick.
You have to, really.
If you want to stay in this sort of business, then you've got to grow up quick.
But we still manage ourselves as well.
The reflective, heart-searching quality of Martin Gore's lyrics [Cm] reveals this early maturity.
But Gore is shy about interpreting the meaning of his songs.
We try not to talk about the songs too much.
Because I [N] think it's a general policy that we try to keep a bit of mystique _ with the songs.
Because you can go into an interview and talk about the songs and explain it fully.
But what's the point?
You might as well just do that anyway.
Get on a television spot and tell everyone your views.
But if you're going to write songs, you might as well try and express them.
And then leave it up to the
_ [Cm] Building something, should have [Fm] a gun, [C] my very own PC,
[Ab] _ [E] Go and leave [Cm] it in my secret garage, [Fm] _ no secret [C] anymore.
_ [Cm] British futurist Depeche Mode recently brought their [F] stylized brand of electro-pop to the United States.
Unlike most rock [Ab] bands, however, Depeche Mode features a drummer that starts [Eb] performing at the press of a button.
Their electronic backbeat comes [G] from a Tiak tape machine.
Lead singer Dave Gahan asserts that having a [Cm] mechanical drummer is really quite ordinary.
[Fm] We've never had a drummer, and we used to use drum machines, which weren't very good when we first [Ab] started out.
And then when we got into the studio and started making records,
we just took the drum track from the records and put it onto the tape.
We've always had it, and we've never [D] even thought about getting a drummer.
That's why it's really, I mean, it's great to have a real drummer on stage,
but [Cm] the Tiak probably keeps better time. _
My secret [Fm] garage is not a secret [C] _ anymore.
_ [Cm] _ _ _ _
[C] _ _ _ _ [Cm] _ _ _
[Gm] Dave Gahan and the tape deck share the stage with synthesizer players Andy Fletcher, Alan Wilder, and Martin Gore.
Gore is also the chief songwriter [F] for the group.
When composing, he relies on the guitar to work out the chords,
but any other time, Martin prefers synthesizers.
I [N] think I got a bit bored with the sound of the guitar.
The electric guitar, there's not a lot that you can do with the sound of it.
You can flange it or put it through an echo or something, but it's still basically the same sound.
_ And the synth offers a variety of sounds.
You can almost get any sound on it if you look for it.
I've got percussive sounds. _ _
_ _ That kind of thing. _ _ _
_ _ _ _ _ _ [Gbm] _ _
_ [Db] _ _ _ _ _ _ _
[Bb] _ I mean, that's a section of old noises, you know.
[N] Depeche Mode's newest member, Al Wilder, had piano lessons from an early age,
but in the last five years, he's graduated to technologically sophisticated computerized keyboards.
Sometimes it can take a long time to find the sound that you want, _ _ but that's half the fun of it, you know.
I mean, you can spend hours fiddling about just playing around with the sound.
When we're in a studio, we'd spend hours looking for it.
And then, since we've got it, we store it.
So that we can get it back any time.
Another nice feature is you can split the keyboard in two and have two separate sounds.
For example, _ in the lower half of the keyboard, I can put a bass kind of sound,
and in the upper half, a stringy sound or whatever.
_ [Bb] And there's one song we do called Tour where I do that.
[Gb] I'm playing in [A] _ _ [Gb] _
one half.
[Gb] _ _ _ [A] _ [Gb] _ _ _
_ _ _ [A] _ It's hard to believe that these young men, who started recording together when they were just [G] teenagers, face any pressures.
We've been together about three years now.
[Cm] So that was quite a while ago.
But _ [Fm] since then, we've [Bb] been around, [B] we've seen a lot of the world.
And we've got over that really.
I mean, when we started out, I mean, when we first started, I was 17.
_ [N] _ So we was pretty young.
I mean, my first television appearance was when I was 18, I think, just 18.
But _ _ we've got over that really.
You grow up, we've grown up very quick.
You have to, really.
If you want to stay in this sort of business, then you've got to grow up quick.
But we still manage ourselves as well.
The reflective, heart-searching quality of Martin Gore's lyrics [Cm] reveals this early maturity.
But Gore is shy about interpreting the meaning of his songs.
We try not to talk about the songs too much.
Because I [N] think it's a general policy that we try to keep a bit of mystique _ with the songs.
Because you can go into an interview and talk about the songs and explain it fully.
But what's the point?
You might as well just do that anyway.
Get on a television spot and tell everyone your views.
But if you're going to write songs, you might as well try and express them.
And then leave it up to the